Scenes from the Colonial Catwalk: Cultural Appropriation, Intellectual Property Rights, and Fashion
Scenes from the Colonial Catwalk Scenes from the Colonial Catwalk: Cultural Appropriation, Intellectual Property Rights, and Fashion Peter Shand University of Auckland, New Zealand INTRODUCTION n 1907 the English manufacturer Walters; his style, in turn, was based on Royal Doulton introduced porcelain a geometric version of the koru. Cur- Ifeaturing a design called “Maori rently, numerous Government depart- Art”: cups, saucers and plates glazed ments have stylized koru or Maori weav- with red, black, and white to reproduce ing-derived patterns in their letterheads, a suite of interlocking patterns that are and tourists clamor for Maori art prod- generically known as “koru.” From the ucts made both in New Zealand and 1930s similar patterns have appeared on overseas. Fashion houses, both at home New Zealand postage stamps, and the and abroad, have appropriated Maori koru is currently employed in a decora- design as modish. It appears painted on tive border on the two-dollar coin. Since the faces of famous men adorning the the 1960s Air New Zealand has ferried covers of fashion magazines, or as part people around the country and the of a global advertising campaign for a globe, a koru design on its tail and until sporting goods manufacturer. It enters the late 1970s plastic tiki given to every the world of the pop music market passenger. In 1985 packets of New through a tattoo on Robbie Williams’ left Zealand butter included a small graphic shoulder by Maori tattooist Te Rangitu which told consumers a portion of the Netana. Maori intellectual property purchase price was going to support the would seem from this to be global—cer- America’s Cup Campaign in tainly it is more widely and more casu- Freemantle, Australia.
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